By Giles Kristian
In an exciting experience of brotherhood, conflict, and treachery, Giles Kristian takes us into ninth-century England, a global of darkness, epic clash, and an unforgiving God served by means of robust clergymen. On ships formed like dragons, bristling with oars and armor, Jarl Sigurd and his fierce Norsemen have are available in seek of riches. And riches they're promised, via an English ruler who sends Sigurd and his wolves to thieve a holy manuscript from one other nation. Osric, an orphan boy, sees past the fear of those warriors, and someway is aware the heathens’ tongue. Renamed Raven, rechristened in blood, he'll sign up for them. they're his humans. and they're going to be his fate.
“Astonishing and riveting, a robust, lightning-paced tale.”—New York instances bestselling writer Bernard Cornwell
“A gripping story that wonderfully evokes the sounds, points of interest and scents of darkish Age Britain.”—Harry Sidebottom, writer of the soldiers of Rome series
“[Kristian] compares favorably with writers like Bernard Cornwell and Conn Iggulden.”—Historical Novels Review
“A rip-roaring Viking saga . . . superb, robust, exciting stuff.”—Manda Scott, writer of The Crystal Skull
Read Online or Download Blood Eye (Raven, Book 1) PDF
Similar fiction books
Als Bob Evers, dikke Arie en de zuinige Jan Prins weer eens platzak zijn, proberen zij zich door vreemde praktijken uit de problemen te redden. Vanaf ca. eleven jaar.
Say sorry, express regret! takes us into the perversely charmed international of the Flanagans and their son, Collie (who has the questionable success to be named after a breed of dog). Coming of age on Martha's winery, he struggles to discover his position inside his wildly filthy rich, hyper-articulate, resolutely loopy Irish-Catholic relations: a philandering father, incorrigible brother, pigeon-racing uncle, radical activist mom, and domineering media magnate grandfather (accused of being a assassin by means of Collie's mother).
Bukowski est un écrivain considérable. Un homme en marche. Un homme étincelant. Avec l'énergie du désespoir, il secoue comme un vieux sac notre civilisation fin XXè siècle. Et ce qui tombe n'est pas joli, joli. C'est brutal. Claire Gallois, Le Figaro Toutes les histoires de Bukowski sont aussi vraies qu'infectes et, en cela, font honneur à l. a. littérature : il raconte ce que les autres enjolivent et dissimulent.
From Doris Lessing, winner of the Nobel Prize for Literature, the sequel to at least one of her such a lot celebrated novels, 'The 5th Child'. 'The 5th Child', Doris Lessing's 1988 novel, made a robust impression on e-book. Its account of idyllic marital and parental bliss shattered via the coming of the feral 5th baby of the Lovatts made for unnerving and compulsive studying.
- Selected Short Stories
- The Vampire Lestat (Vampire Chronicles, Book 2)
- Flatscreen: A Novel
- Of Blood and Honey (A Book of the Fey and the Fallen)
- Continental Drift
Extra resources for Blood Eye (Raven, Book 1)
But among the ‘sondry thynges’ which books treat of are women, and here we not only have ‘other preve’, but we find the books themselves at variance; in opposition to the antifeminist tradition which is represented in the Legend’s Prologue by the Troilus, there are the ‘sixty bokes olde and newe’ in Chaucer’s possession which the God of Love cites as containing innumerable stories of women who chose to die rather than be unfaithful (G 273–310). How can the notion of literary authority survive such contradictions?
Chaucer must have known perfectly well that Troilus and Criseyde, for the reasons I have already outlined, is not an antifeminist work. Yet he also knew (as his picture of Jankin’s use of his ‘book of wikked wyves’ makes clear) that the subtleties of authorial intention are all too often submerged in the crude interpretations of the reading public. This being so, he both is and is not contributing to the antifeminist tradition in telling of Criseyde. He therefore avails himself of the conventional polarities of the ‘woman debate’ in order to make an equivalent contribution to the opposing stereotype of the suffering ‘good woman’.
At the end of Troilus and Criseyde, he not only apologizes for his story to the female members of his audience12 – Bysechyng every lady bright of hewe, And every gentil womman, what she be, That al be that Criseyde was untrewe, That for that gilt she be nat wroth with me. Ye may hire gilt in other bokes se; 12 The audience addressed may be the implied rather than the actual audience, since Richard Green (1983–4) has shown that the number of women at court was probably small. Such apologies to women for anti-feminist material are frequent enough in medieval literature to be regarded as conventional (Mann, 1991); but Chaucer’s use of the convention is differentiated from that of other writers by his immediate addition of remarks critical of men.
Blood Eye (Raven, Book 1) by Giles Kristian